Michiel Sweerts, Flemish
“I’d Appreciate You Not Telling Anyone We’re Selling Torsos in Here. Technically, We’re Only Zoned As a Head Shop,” 1652
Oil on canvas
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Info about this artist can be found in my comment at another blog entry.
/// In the Studio Pieter suspects
that the broken stone parts he inspects
can (like jigsaws) be matched up,
and, if need be, be patched up,
but he can’t find the head that connects.
/// If a statue is whole, (not in pieces),
than the worth of it greatly increases.
Reassembled “antiques”
labeled “Sculpted by Greeks”
can be sold to collectors he fleeces.
/// Though he’s checked broken parts by the kilo,
he’s discouraged and starting to feel low.
He may not reach his goal
to restore and make whole
that disarming piece, Venus de Milo.
/// To attach mismatched chunks is misfortune,
which could lead to a form with distortion.
To be sold as great art,
make sure each body part
(unlike David’s) are all in proportion.
/// Pieter’s partner with palette and paints
points out why there should be more restraints.
He’d been told, “Paint this torso
to seem marble.” It wore, so
paint had faded, which lead to complaints.
/// Artists need sculpting skills, (it’s well known),
to carve real-looking figures from stone.
But some statues are cast
using molds— which don’t last—
but form copies as good as a clone.
/// Making molds of a man using plaster,
can, if not done with care, cause disaster.
Plaster drying on flesh
gets hot; hair can enmesh.
Just ask Cynthia (the) Plaster Caster.